Many people argue that if you want a film in stereo you should shoot it in stereo. Yet many filmmakers do not want the physical size of an on set stereo rig, or they prefer to shoot film (ruling out stereo in camera, effectively) or want to use anamorphic lenses which are extremely difficult for stereo native capture. Even on a stereo film, lenses and situations often times render a single camera the only viable solution. Thus, even on films shot in stereo there may well be a need to convert some footage and that high quality conversion is an important tool in the box of any effects house.As a number of our alumni are currently working in the 2D-to-3D conversion specialty, and there are no signs of 3D disappearing from cinemas anytime soon, chances are high that you'll at some point be involved in this sort of work. Read the rest of this invaluable article here.
Tuesday, June 12, 2012
fxguide: 'Art of Stereo Conversion: 2D to 3D – 2012'
comprehensive set of case studies detailing the 2D to 3D conversion pipelines for films such as Titanic, John Carter, Star Wars Episode I, and the latest Transformers.